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    e.ferguson Sept. 27, 2001, 4:49 p.m. (Message 27557)

    On 26 Sep 2001, at 21:14, Patricia Ruggiero wrote:
    > <..<peep>..>  I would like to know what folks think about "staying
    > in the middle" as the 1st Cpl finishes corner-partner turns
    > before dancing three-hands-across with the supporting couples. 
    > I find it satisfying to finish the left-hand turn with my
    > partner at the set lines and then surge forward toward the 2d
    > cpl for the hands across figure; staying in the center defeats
    > this, to my mind. 
    > I should add here that I don't have the original/official
    > instructions for this dance; <...> 
    The original instructions (Pocket Book 32+Leaflets, p. 41) say:
    17-24  1st couple turn first corners ..... (etc) .... and partner 
    with left hands, finishing ready for
    25-28  Right Hands across, 1st man with 3rd couple ...<etc>..., 
    passing right shoulders into  ... 
    Our cherished "Blue Manual" says:
    24      1st couple stay in the centre of the set at the end of the 
    left hand turn ready to dance right hands across.
    28      Similarly, 1st couple pass R shoulders in the centre of the 
    set to dance left hands across.  They do not dance out to the 
    TACnotes says:
    23-24  !st cpl dance a wide, three-quarters LH turn & flow into RH 
    across on bar 25
    and adds
    28  As 1st cpl pass R shldrs, 2nd and 3rd cpl turn inwards ready to 
    give LH.  Do not dance out to sidelines.
    Each group can of course make its 
    own choices, but if you wish to accept any of these "RSCDS 
    authorities" I fear that your "surge" stands defeated.
    Eric T. Ferguson, van Dormaalstraat 15, NL-5624 KH  EINDHOVEN, Netherlands
    tel: (+31)(0)40-243 2878 fax:40-246 7036  e-mail: x.xxxxxxxx@xxxxxxx.xx
  • ...

    Norah Link Sept. 27, 2001, 5:23 p.m. (Message 27560, in reply to message 27557)

    > ========================
    > TACnotes says:
    > 23-24  1st cpl dance a wide, three-quarters LH turn & flow into RH 
    > across on bar 25
    > and adds
    > 28  As 1st cpl pass R shldrs, 2nd and 3rd cpl turn inwards ready to 
    > give LH.  Do not dance out to sidelines.
    And this is the key to making it work if 1st cpl do indeed stay in the
    center at they pass R shoulders.  If the supporting couples dance out to the
    sidelines it does a few things:  
    1. it creates a wide sweep that 1st cpl do not get to enjoy, and so changes
    the pace between 1st cpl and the supporting cpls
    2. it requires supporting cpls to drop hands on the R hands across slightly
    earlier, leaving 1st cpl hanging in the middle
    3. (a result of the first point) it leaves 1st cpl hanging around in the
    middle waiting for the supporting cpls to come back in
    4. visually, it is not as effective (and therefore, perhaps, not as pleasing
    for the participants) if the dancers are not all doing the same thing.
    - what seems to be the method that is currently in vogue at least in NA:
    all 3 cpls sweep out to the side and sweep back in, providing an opportunity
    for a changing dynamic and ALSO a lovely covering opportunity at the end of
    the RA as well as at the end of the LA as the wheels momentarily become
    straight lines.
    - the "RSCDS approved" method:  RA/LA is danced at both ends, creating
    parallel wheels, and like magic the dancing cpl appears at alternate ends in
    the two halves of the figure, and the challenge becomes having them change
    ends sociably but without colliding and with a minimum of fuss. (Similar to,
    for those who know what I mean, really good shedding in highland dance - the
    foot moves from the back of the leg to the front and back again, but if the
    dancer is really good at, you hardly see it happen - it is just there).  In
    a way this is more difficult for the supporting cpls in particular, since
    they don't have far to travel.  And dancers must remember that the sweep out
    at the end should be covered.
    Both methods have their appeal, for different reasons.  The key is having
    all in the set agree to which way they are dancing it (either beforehand, or
    in very quick reaction to what they find the other couples want).
    happy dancing!  (together)
    Norah Link (Montreal, QC, Canada)
  • ...

    Patricia Ruggiero Oct. 2, 2001, 4:20 a.m. (Message 27643, in reply to message 27557)

    Well, the first thing I learned is that the Pocket Edition of Bk. 32
    includes Leaflets!  Aaarrgh!  How many times have I pulled my hair at not
    having, or so I thought, the official instructions to quite a few popular
    How could I be so dense, you ask?  (Oh, easy...) A friend gave me her old,
    but complete (up to Bk. 38), set about a year or so ago, and I just never
    noticed this feature.....
    But back to the dance in question --  Eric's note made it clear that
    "staying in the middle" is definitely the manner in which the transitions
    are executed.  Malcolm's note was instructive for suggesting that the
    devisor *wanted it that way* -- I guess that's what I wanted to know: "how
    come it's this way and not 'out to the setlines'?"  Because the devisor said
    so, that's why. Oberdan's and Norah's clear explanations of how such
    transition(s) can be effected in a smooth, but also powerful manner were
    much appreciated -- and will be saved for future Miss G's dancing

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